1998
Bliss
Barry recorded some violin pieces that were played on set while filming, but a scheduling problem led to him being unable to do the score in the end.
Composer: Jan A.P. Kaczmarek
1997
Tomorrow Never Dies
Wanted proper fee, full creative control (the song), both of which he was refused.
Composer: David Arnold
1996
The English Patient
Was approached but refused.
1996
The Juror
"I met with the director, Brian Gibson, and told him how I work. I would give him themes, and then I go off and work, and then go to Los Angeles, he's finished shooting, we spot the movie. I did a few things which he really liked a lot, and which Columbia liked. Then he said, "Well, what about the rest of the music?" and I said, "What about the rest of the music?" He said, "I want to hear it." I said, "This is not an audition, Brian. This is your second movie. If there's anything at the end of the day that you don't like, then we have a little session."
Composer: James Newton Howard
1995
Goldeneye
Was asked to score but was too busy on other projects and also wanted to spend time with his very young son.
Composer: Eric Serra
1995
The Grass Harp
Composer: Patrick Williams
1994
It Could Happen To You
Composer: Carter Burwell
1993
Sleepless in Seattle
'I was offered Sleepless in Seattle. They sent me the script. They asked me to do it, and I said I would be very interested. But then I heard there was a so-called "musical supervisor," and whenever I hear that I want to run. So then the musical supervisor came into the picture. And then I spoke to a guy who runs Epic Music in Los Angeles. And he said he wanted these songs, and I said "can I have a list? Fax me a list." And there were about 20 songs, and I said, "Well, where am I?" Right then I didn't want to do this movie.'
Composer: Marc Shaiman
1992
1492
JB told Geoff that the director once offered to show him the film but that was as far as it went. He never heard from him again on the subject.
Composer: Vangelis
1992
Of Mice and Men
Composer: Mark Isham
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